For ensemble and electronics [12’]

2022

24 March 2022 - Premiere, Splendor, Amsterdam

Ensemble Modelo62

From the receiver came a buzz like K. had never heard on the telephone. It was as if from the buzz of innumerable children's voices - but it was not a buzz, it was a song of distant, very distant voices - as if from this buzz, in a way that was frankly impossible, a single voice formed, high-pitched but strong, that struck the ear as if it demanded to penetrate more deeply, beyond the miserable hearing organ. K. listened without speaking, he leaned his left arm against the telephone shelf and listened. 
The Castle - Chapter 2, Barnabas

We hear these incessant phone calls in the village telephones as a song and a murmur, which I am sure you have also heard. But that buzzing and that singing is the only accurate and trustworthy thing that our telephones transmit to us, everything else is a lie.
The Castle - Chapter 5, At the Mayor's

Organic interference. In radio, the act of tuning in implies a confrontation with a series of options, a choice between various possible worlds. The choice may be clear, but in the gaps between stations, it sometimes seems that these worlds overlap and come into contact with each other, a fragile coexistence.
Any telephone can casually intercept, during a call, radio frequencies that may be more or less distant from both sides of the receiver. What is often dismissed as disturbance, is the potential gateway to another reality; a strange alignment that gives a glimpse of an oneiric, or perhaps terribly real, world.

What if interference were an act of creation? A superposition of frequencies, the distortion resulting from their interactions, an output far removed from the input signals. Even if it was chance, or error, that produced the interference, even if its medium is some inanimate object, there is something incredibly organic about the process, an artificial genesis, a radial conception. And if this is true of the creative process, then even this resulting signal could in rare cases come close to life, acquire for a moment the imperfection of a human breath. Such a frail song could move to compassion.

It sounds almost like an arcane folk music, and may aspire to be the premonition of a digital folklore; the folklore of a concealed people, who never existed, or rather, who live in parallel in an unknown space and time. In Venus Station, interference is in this sense a portal to the occult, the unexplored. It is a casual evocation, not yet regulated by ritual. It is also the search for a new alchemical state, a panic ritual of an alien mythology. But these are no more than conjectures; the voices, the shadows, the images that are glimpsed, as well as their nature, are unknown, or lost to the ages.

For electric bass guitar and tape [7’]

2019

"The reconquest of the lost Urgency passes through Obstinacy. It is settled: my education will take place in alphabetical order. Letter K”.
Basilius Valentinus

2 September 2019 - Premiere, Arnold Schöenbergzaal, Royal Conservatoire Den Haag

Bass guitar: Maurizio Tedde

For two pianos tuned a quarter tone apart or piano and transducers [6’]

2019 - 2022

"I who had loved the image of old Geulincx, dead young, who left me free, on the black boat of Ulysses, to crawl towards the East, along the deck.
That is a great measure of freedom, for him who has not the pioneering spirit. And from the poop, poring upon the wave, a sadly rejoicing slave, I follow with my eyes the proud and futile wake. Which, as it bears me from no fatherland away, bears me onward to no shipwreck.”.
Samuel Beckett

2 April 2019 - Premiere, Arnold Schoenbergzaal, Royal Conservatoire Den Haag

Percussions, portativo and electronics [9’]

2020

"The two primary motions are rotation and sexual movement. These two motions are reciprocally transformed, the one into the other.
Thus one notes that the earth, by turning, makes animals and men mate, and (because the result is as much the cause as that which provokes it) that animals and men make the earth turn by mating.
These considerations present indissoluble relationships with such insignificant facts as the production of a series of sounds.”
Don Fernando Àlvarez de Toledo Y Pimentel

15 February 2020 - Premiere, Orgel & Percussie: Slagwerk Den Haag, Orgelpark Amsterdam

Percussions:  Alexander Göransson, Rasmus Osbeck
Organ: Ere Lievonen

For string quartet [7’]

2020

31 July 2020 - Premiere, Palazzo Chigi Saracini, Siena.

Quartetto Prometeo